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The purpose of this study is to elaborate and examine a method that I have chosen to call ”Ensembleportföljen”. The study aims to show whether or not high school students benefit from ”Ensembleportföljen” in ensemble lessons where they hopefully get a greater insight regarding their own musical development.   The study has been carried out in two high schools in southern Sweden. Two different classes were selected and the study took place during their music lessons where one class proceeded with their usual curriculum while the other one worked according to the ”Ensembleportföljen”. Observations of classroom performances and interviews with teachers and students have been carried out throughout the study.   The results show that a significant amount of the students that tried the ”Ensembleportföljen” did benefit from the outcome. A greater understanding regarding their own learning was achieved and their confidence was increased. However, the study showed that a functional digital platform is necessary for further usage of the ”Ensembleportföljen”. However, the study had to be done on the students' breaks not to take time away from the ensemble lesson.

In the Midst of Life is a highly-virtuosic concertino for solo guitarist and chamber orchestra. The piece explores variations of makamic intervallic structures—complex melody types and modes in traditional Middle Eastern Music—and builds the formal architecture and the pitch material upon makamic textural and melodic relations. / text

A three movement work for wind ensemble and soprano soloist.

In February of 2009 I began collaborating with the poet Margot Lurie on a series of songs for soprano voice and a large chamber ensemble. We worked separately for the following year and a half, meeting intermittently to exchange ideas and materials. I chose three poems of similar tone and thematic content, each illustrating a different "scene" which serves as a metaphor revealing a perspective of the human condition. Then I composed the music to support the text, preserving its raw clarity by allowing the piece to unfold on the surface level through simple harmonies and a primarily conjunct, speech-like vocal melody, as well as by controlling the density of instrumental textures and the rate at which new pitch information is introduced. The multiple meanings of the title are reflected in the work on several representational levels: as the vocal melody is rendered (distilled) from the surrounding harmony, the harmonies themselves render (surrender) their perceptual weight to the text, which is in itself a rendering (depiction).

ABSTRACT Rashomon, a composition for wind ensemble, portrays a musical eventthe simple motion of rise and fallfrom three different perspectives, each assigned to one of the three movements. The underlying form, the basic gestural content, pitch material and instrumentation remain the same in the three movements. Each movement consists of five sections: an introduction, a statement of melodic material, a trumpet statement of melodic material, an ascent to the highest point and a resolution. Rashomon has four main gestural components: compression/expansion, rise/fall, interruption or interjection and the stasis of sustain or residue. The gestural material develops gradually from the start of Rashomon I, where these ideas are introduced, through to the end of Rashomon III. Pitch movement in wind ensemble works structured for advanced secondary school or university wind ensembles needs to be sensitive to the difficulties inherent in the ensembles unfamiliarity with atonal patterns. Many instrumentalists at this level find that an increase in dissonance complicates their intonation and large intervallic leaps stretch their technical abilities. The pitch content of Rashomon takes these possible restrictions into consideration in order facilitate a quality performance while maintaining the pitch organization of a modernist work. The use of simple gestural components, perceptual similarity of form, combined with a driving and aggressive nature, aids in the accessibility of the work for the wind ensemble and its audience.

In 2005, Dennis Kam completed the Sonata Ibis which the ensemble Ibis Camerata premiered at the Festival Miami at the University of Miami that same year. The composition is the last of five versions of the same work, originally written for piano solo. The work was recorded by the Ibis Camerata, on their CD titled Glisten, and released in 2006 on the Albany Records music label. The composition presents an important addition to the existing repertoire for the ensemble of clarinet, violin, cello, and piano. Sonata Ibis is a single movement work not following traditional forms. The work reflects the composer's conscious aim of making works with different versions. One of the issues that this study takes up is the evolution of the Sonata Ibis through all five versions. Analysis of musical materials and techniques used in the Sonata are also a part of the study. One chapter of this paper deals with Dennis Kam's biography. One chapter discusses the formal structure and musical idiom of the work. Performance-related issues from the ensemble and a pianist perspective are discussed in the remaining two chapters.

Ce mémoire se veut une étude détaillée de ce que sont les bases de Groebner, de la manière dont on les calcule et dans quels cas elles sont utiles et utilisées. Un éventail de définitions, de théorèmes, de lemmes et de propositions sont énoncés et démontrés afin que les lecteurs, lectrices, intéressé(e)s, puissent avoir les ressources nécessaires leur permettant de comprendre vraiment ce que sont les bases de Groebner. Ce travail propose également une définition précise de ce que sont les ordres monomiaux et élabore une formulation claire de leur classification. Ce mémoire donne, en plus, une description des algorithmes sous forme de procédures, programmés en utilisant le logiciel Maple 10 qui sont mis en annexe. Tous les algorithmes, décrits en pseudo-code, ont été programmés de manière naïve, c'est-à-dire, sans astuce de programmation afin d'en réduire le temps d'exécution ou l'espace mémoire occupé. Cela afin de faire voir aux lecteurs, lectrices, intéressé(e)s, comment se font les calculs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Anneau, Idéal, Base de Groebner, Module, Ordre monomial, Ordre monoïdal.

Varför fungerar det bättre att spela med vissa personer än andra? Vad är det som gör samklang? Vad är samklang? Hur musicerar olika personer tillsammans? Jag och två sopraner har bildat en ensemble för att sjunga luciasånger och för att sjunga på äldreboenden. Luciatåget har gjorts vid flera tillfällen varav ett tillfälle har dokumenterats. Huvudfokus för detta arbete har varit samklang och interpretation. Det innebär att vi i samband med repetitioner har fokuserat på interpretation genom att analysera sångsätt, frasering, nyanser, artikulation, intonation, uttal, balans och tolkning. Interpretation är för mig som musiker ett samlingsbegrepp för de verktyg som krävs för att kunna musicera: bland annat sångsätt, frasering, nyanser, artikulation, intonation, uttal och balans. Men interpretation är även hur jag som musiker tolkar musiken. Om det är en sång: vad jag sjunger om, hur jag sjunger den, vem jag sjunger till. För att få en fördjupad kunskap om innebörden av interpretation har jag tagit del av litteratur där andra musikutövare beskriver olika sätt att arbeta och deras tankar om musik. Dessutom har innehåll i litteratur bekräftat mina egna erfarenheter och tankar vad det gäller interpretation. Att få musicera med andra har varit kul och lärorikt. Ett sidoresultat kan beskrivas som att vi har växt som ensemble: var och en har gjort en resa både personligt och musikaliskt. Resultat i detta arbete ska uppfattas som att interpretation är en process vilken leder fram till samklang. I detta arbete har jag fått fördjupad kunskap om interpretation och ensemblesång. Genom att gå in noggrant i interpretation har jag märkt hur många smågrenar det finns av ämnet och hur många stora grenar det finns i musikens träd. Det konstnärliga framförandet har dokumenterats i form av en video och ljudupptagning, vilket är bifogad den uppsats som finns i Kungl. Musikhögskolans bibliotek. / <p>Bilaga: 1 DVD</p>

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.